This is the first demo for my “How To Paint Stylized Hair” tutorial series which is a part of my digital painting course called The Magic Box.
During the last half of 2014 I have committed to attempting to paint the hardest subjects I can think of. …which includes pop icons. They’re particularly challenging because they are so familiar to all of us.
So far, this series includes Elvis and Marilyn Monroe (which I’ll post here in the coming weeks).
Although challenging, I’m really happy with how this one turned out.
The brushes I used for this painting will soon be available on my website.
The ImagineFX team was overwhelmingly generous with the amount of space they devoted to showcasing my artwork.
You’ll find a few new paintings (including full-page reproduction of the Octopus Artist pictured above and my newest Tin Man), a few sketches, a ”tradigital” process drawing and a color-corrected re-print of my original Animal Farm painting (it was super-dark when it appeared in the mag last year).
The amazing Cory Loftis was also kind enough to let me feature one of his illustrations to make a point about versatility.
This is my third collaboration with the wonderful folks at ImagineFX.
For more tips on how to break into animation, check out my website: ChrisOatley.com
As a character artist that has been drawing traditionally since the beginning what is a good way to start transfer into painting digitally? I feel as though I don't have many portfolio pieces because I don't have them finished to the point of being digitally painted and that hinders studios from considering my portfolio. Is that true? Also I wanted to say I am truly inspired by you and when I get into a artistic slump one thing that always helps is your interview with Chris Oatley. Thank you.
The way to start is to honestly quit reading this sentence and begin painting, Period.
In fact, you shouldn’t even be reading this sentence right now, what are you still reading this for?
Stop. GO paint and come back in a few hours…I’ll wait here……
No really… GO
OK. Back? How was that? Sucks huh? You aren’t there yet. What’s in your head isn’t on the digital canvas yet. But it will be. Given time, energy, and patience. It will. You’re learning workflow. Lighting, where you like to start, if you enjoy working from a sketch or a blank canvas, what colors you enjoy seeing next to each other , and so many more ideas as you screw up, adjust, and paint some more. It’s all building up steam. But it just takes time and effort. Things many artists don’t like to hear. But the few who do? They have careers. Remember, the only difference between a professional and an Amateur is not quitting. Well that, and meeting your deadlines….. being personable…. giving the client what they want….oh and having a business sense…. well you get the picture.
For me, drawing is the first stage of a 4 part play.
I think a brilliant draftsman can get a job and keep it. But those people are rare in this industry. They’ll also have a certain something they add to their craft. Like Glen Keane is a brilliant draftsman and animator, Nico Marlet adds a tone and light pencil to his design work, etc etc.
But people identify with you as an artist if you have something to say with your art. Either it’s humor, sophistication, horror, story telling, etc.
It’s less about what do they want to see and more what do you want to show them. If you want to be a line art guru than own it. Learn a ton. Cross hatching, variations on pencil tone, strokes, thick to thin.
But don’t just “do something” because you think it will get you a job. What if it doesn’t? What if you spend the next 4 years doing it and you hate it and still no one hires you? So now you’re broke and hate painting……That will really suck. Learn to paint for the right reasons. If you want to be a better painter and it will help you become a fuller artist, that’s the right reason. So again…..quit reading this right now and paint…
We’ll wait here……
Are you over-thinking your process? Brett Bean helps us stay focused on first things first…
In part one of this interview, Sarah Marino told the story of the struggle to find her calling as a professional artist and how she got her first animation job – not in the art department – but as a production assistant.
In this episode Sarah talks about her success in both animation and kidlit, her new gig as a background painter and VisDev artist at Nickelodeon, her new course at The Oatley Academy and how a single post-it-note doodle changed her life forever…
Do You Need An Art Mentor?
The Magic Box, our self-guided digital painting course, is a huge hit with the students.
We originally designed the course to be self-guided but many of the Magic Box students have requested mentors to provide additional help, coaching and critique with their assignments in the course.
When I started brainstorming my “dream team” for The Magic Box Mentor Sessions, Sarah Marino was the first person who came to mind.
Sarah is a fantastic artist, an evocative storyteller and an inspirational teacher.
Last year at CTN-X, Sarah was coaching aspiring and pre-professional artists atThe Oatley Academy booth. During – literally – every one of her portfolio reviews, she got right to the heart of a each person’s struggle and offered specific, inspiring, actionable feedback. One student after another walked away looking inspired, confident and prepared to level-up.
Two years ago, my friend and Oatley Academy colleague Sarah Marino appeared on what is, to date, the most frequently downloaded episode of The ArtCast: The Rising Stars Of Animation.
Like every other guest on that show, Sarah has, as I predicted, gone on to great success.
After wrapping as visual development artist on The Book Of Life (the gorgeous new animated feature from Reel FX) she moved to Burbank to join the art department on Nickelodeon’s new preschool series Shimmer and Shine.
In this episode, Sarah shares the story of her happy, creative childhood, her positive experience at Ringling College Of Art and Design and the subsequent, disarming struggle of breaking into the animation industry.
…and in the Q&A segment, we respond to a listener question about developing your concept art portfolio.
The unflattering truth of Sarah’s struggle to break into the animation industry.
The pros and cons of a big, expensive, physical art school.
With SDCC fast approaching— here are my tips on networking with pros!
(My first advice blog was dub rainbows and unicorns made of sugar, but the big rock candy mountain has some deep dark caves, and we’re going to crawl into one here. Hopefully we’ll all emerge better on the other side of this…
My hilarious friend Jenn is amazing at the “spoon full of sugar” thing…
This principle really helps to create shapes and characters with “points of interest”. The straights move the eye towards the areas of curves, bumps and details. I mostly focused on the silhouettes of the shapes/characters, but the same principles should also be applied to shapes and volumes inside the main shape/volume.
I love you guys. These words are for you, and also for myself.
I thought that by the time I actually got a creative job in the animation industry I would surely feel… like less of an imposter. Nope. Often times when I get an assignment I experience a moment of pure terror. Afraid that my last…